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increasingly indissoluble and determines our lemming-like march into hypertrophy. Reference is above all being made to by what means and how—the technologies and apparatuses and their strategic occupation. And it is less the metaphysical element that is of interest than processing the factual [16] if the design of machines no longer reveals anything definite about their usefulness and the processes of digitalization take place in obscurity. One could exaggerate and say that in the meantime we are acting from a different perspective: for us, media are not the abstract experiences that hide the real, rather the media surfaces juggle the real and prevent our looking through to the abstract… «…Beauty possibly requires the slavish imitation of what is indeterminable about things.» [17]

[16] «And the good thing about an image is never the ideological, but rather the factual.» Gerhard Richter in an interview with Benjamin H.D. Buchloh, in Gerhard Richter, vol. II, Kunst- und Ausstellungshalle der BRD Bonn, Ostfildern, 1993, p. 95.